• Fashion & Textile Research Journal
• /
• v.13 no.5
• /
• pp.695-704
• /
• 2011

This study is an attempt to explore the expressive techniques and characteristics of tie-dye shown in the contemporary fashion. In doing so, the study conducted a literature review and analyzed the works show cased for 2001S/S through 2010F/W, especially from the "big four" collections in Paris, Milan, New York and London. In the contemporary fashion, tie-dye techniques such as tying, folding and sewing are used in an independent or combined manner to express unique images. They also highlight decorative images in combination with a variety of decorative techniques including draping, pleating, beading. In light of its characteristics, tie dye expresses unique formative aesthetics with diverse patterns and creates more gorgeous images than when many different colors are used for dyeing. The dyeing process works as a critical factor influencing the overall image of design, as it is expressed as a pattern by being applied on the whole of an item rather than in part of clothes. The characteristics of tie-dye techniques used in the contemporary fashion are associated with the expressions of natural beauty, abstract decorative beauty, and dynamic rhythmical beauty.

• Fashion & Textile Research Journal
• /
• v.11 no.4
• /
• pp.661-666
• /
• 2009

The purpose of this study is to analyze the dyeability of polyester(PET) fabric by thermal bonding with low melting component of bicomponent fiber and to describe the change of physical properties of thermal bonded PET fabrics. The PET fabrics were prepared with regular PET fiber as warp and bicomponent fiber as weft. The bicomponent fiber of sheath-core type was composed with a regular PET core and low melting PET sheath. The thermal bonding of PET fabric was carried out in pin tenter($195^{\circ}C$) for 60 seconds. In this study, we investigated the dye ability and fastness of the dyed PET fabric. Dye ability of E-type dyestuff is higher than S-type dyestuff. In the case of E- type dyestuff, the saturated dyeing time was 10minutes at $130^{\circ}C$. The washing fastness and light fastness were excellent as 4-5grade.

• Journal of the Korean Society of Costume
• /
• v.30
• /
• pp.153-166
• /
• 1996

The purpose of this paper is to examine the Ethnic Fashion which is influenced by the Anti-Fashion in 1960s. Anti-Fashion as Hippie style had an effect on high fashion in the 60s-70s and which was restored in the early 90s are ethnic and folk-lore style. The influence that the Anti-Fashion has had on the Ethnic Fashion is summarized as follows. At the Ethnic Fashion in 60s-70s: First Europian romantic style that is velvet doublet breecheese race cuffs ruffle flounce race jabbot embrioderd blouse frilled blouse Victorian mode and Pre-Raphaello style. Second handicraft ornaments style & peasant style what are embroidery weaving variaty ornaments tie-dye patch work smocking beads & bell paisely print peasant blouse dundle skirt long skirt to clinging layered look floral print dress and shepherd-ness style. Third folklore style that is Oriental mao-suit harem pants & Indian pants caftan monk robe Afgan vest burnoos dhoti pants Hindu robe Red Indian fringe head band feather ornaments Red indian embroidery & weaving body painting gaucho poncho and serapi. At the Ethnic Fashion in 90s.: First Europian classical romantic style that is Victorian style Pre-Raphaello style ruffle & race decorations and velvet materials. Second peasant look& handicraft orna-ments what are floral print long skirt to cling-ing uneven stitches top stitchings patch work embroidery crochet and tie-dye. Third folklore style that is Red Indian style South East mode is sarong skirt & Nheru jacket Tibet & Mongolian style South America style and gypso style.

• Journal of Fashion Business
• /
• v.2 no.1
• /
• pp.35-48
• /
• 1998

The purpose of this paper is to examine the street fashion, which is influenced by the youth culture in 1960s. Youth culture is the youth subculture which appeared multiform in the 1960s. It tried to create a new culture by subverting the ruling class culture with their combative life style and peculiar appearance which are distinguished from mother culture. Youth cultures as youth subculture are symbolically expressed in their style which had strong characteristics of sub-fashion and anti-fashion, and which are different from mother fashion in shape. Therefore youth subculture fashion had an effect on street fashion in the 60s. The influence that the youth culture fashion had had on the street fashion is summarized as follows: Beats fashion was intelligency look on black dress, black polo-neck shirts, black trousers, black glasses and heavy black eyeliner. Mods fashion was neat style on Edwardian suit with narrow trousers, pointer-toeshoes and smooth croped hair. Folkis fashion was ethnic look, middle east asian look, peasant look, Indian style, south america look, gypsy style, natural materials, natural dying, tie-dye, beads and hand made ornaments. Rockers fashion was violence appearance categorized 'blue collar' on black leather jacket decorated with metal studs and hand-painted insignia, blue jeans and boots for motor bike. Swinging London & the Psychedelics fashion was blend mods look with pschedelic color and motive pattern. Hippie fashion was intermix pschedelic and natural or ethnic style. It was appear to be a meaningless, unpredictable assortment of diverse items and style. Faded and tattered jeans, army jackets, vintage hat, beads, embroidered headband, white sheets, diverse theatrical costumes, sandals or bare feet, granny dress, peasant blouse, blanket cape, tie-dye T-shirts and long hair. Greasers fashion was adorned black leather jacket with chains, fringing, badges, insignia and sleeves had been crudely ripped off. They came to be known wore jeans so soaked with oil. Skinheads fashion was aggressive working class identity with donkey jacket, jeans rolled up, collarless union shirts, heavy boots, braces and hair cropped short.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.35 no.3
• /
• pp.359-370
• /
• 2011

This study analyzes the textiles design of natural indigo dyed products in Korea and Japan. In this study, a total of 556 Korean natural indigo dyed products, and 2,730 Japanese natural indigo dyed products were used for analysis. The subjects of this study were 556 natural indigo dyed products and 2,730 Japanese natural indigo dyed products selling natural indigo dyed products which were found using search engine keywords of natural indigo dyeing and natural dyeing. Research and analysis was treated regarding the products, items, patterns, and the representation techniques of the patterns. The results of this study are as follows. In the pattern used for natural indigo dyed products, 71.4% of Korean products have no pattern, but 77.1% of Japanese products have patterns. On the representation techniques of the patterns, Korean products used tie-dyeing and a dip patterned fabric. While in the Japanese products, the most frequent patterning techniques were paraffin dye, followed by tie-dyeing, yarn-dyed and weaving, screen printing, and yarn-dyed and knitting. Regarding the kinds of patterns for natural indigo dyed products, only 8 kinds of patterns were used in Korean products; however, over 50 kinds of various patterns were used in Japanese products. Most patterns in the Korean products were ion patterns made by tie-dyeing. While in the Japanese products, the most frequent patterns were stripe patterns, followed by flower, dot, and ion patterns. Based on these research results, the problems of the textile design of Korean natural indigo dyed products were that most of the products have no pattern, and even though there were patterns, they lacked variations between the products. While in the case of Japan, they used the traditional and modem patterns of various textile representation techniques.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.23 no.4
• /
• pp.601-608
• /
• 1999

1960년대와 70년대 초기 미국은 인도의 음악, 철학, 종교, 복식 등, 다양한 문화 양식에 관하여 강한 관심을 나타냈고 이는 청년층의 반문화적 행동유형에 의해 시작되어 전반적인 사회계층으로 확산된 문화현상의 한 예로 설명되었다. 이에 본 논문은 Gentlemen's Quarterly 와 Sears and Roebuck Co. Catalgue를 이용하여 수집된 자료를 내용분석법으로 처리하여 미국 남성복에 나타난 인도복식의 영향과 사회계층별 차이점에 관한 실증적인 연구를 시도하였다 연구결과에 따르면 이 시기의 미국 남성복식에 보여진 인도의 영향은 주로 네루 스타일의 복식(Nehru jacket/suit Nehru collar Nehru hat)과 Indian sandal과 jewelry tie-dye와 madras로 의복 직물 악세서리등 다양하게 나타났다 그러나 인도복식으로부터 받은 영향의 내용과 정도는 사회계층에 따라 그 차이가 뚜렷하여 중류층에서는 제한된 종류의 스타일의 단기간 동안 채택되었으나 상류층에서는 다양한 스타일이 비교적 오랜 기간동안 지속되었던 것으로 밝혀졌다 이러한 결과는 중류층의 남성복식이 새롭고 비관습적인 스타일의 채택에 대하여 보수적인 양상으로 띠는 것으로 해석된다. 더불어 인도복식의 영향이 1968년을 절정으로 나타남으로서 이시기의 사회변화가 복식에도 그대로 반영되고 있음으로 보여주고 있다

• Fashion & Textile Research Journal
• /
• v.14 no.5
• /
• pp.730-738
• /
• 2012

This study proposes a process to design and analyze stage costumes by design elements for the costumes of the Korean traditional music cantata 'I Will Rise'. This study states fundamental references to make costumes of similar performances in the future and develop costume designs based on the format of a play. The findings are as follows. First, the costume production process of 'I Will Rise' is conducted in the order of directing intentions and script analysis, costume design, miniature production, costume production, costume modification, run, and post-production. Second, an overall Korean silhouette is expressed through the creation of costumes based on the construction of Korean traditional clothing (hanbok); however, from a detail perspective, a modernistic sensitivity is expressed through the use of modern elements (wing shoulders attached to shoulders, narrow ribbons made in a string form, and wristlets and belts) not found in hanboks. Third, tie-dying is applied to the costume colors of each character to highlight the traditional and unique feeling of dye and symbolic colors that effectively represent each role used to communicate the storyline and character emotions to the audience. Fourth, materials for costumes are cotton and linen (frequently used to create the texture of a Hanbok) as the costume of each character is emphasized to the use of additional and detailed materials such as artificial leather, hemp, and silk.

• Journal of Fashion Business
• /
• v.25 no.5
• /
• pp.131-148
• /
• 2021

Upcycling is a sustainable way to recycle waste resources and solve the global problem of environmental pollution. Upcycling is now attracting attention as fiberization and the disposal of waste clothing have become a serious issue. However, the customer's willingness to purchase upcycled products should be increased by propagating that the product value of a reborn commodity is of high value; these products are meant for new purposes and prepared with recycled materials. In this study, we created 11 designer items by applying an eco-friendly concept in the design process of upcycled textiles and products. From 2020 to 2021, a PBL(Problem Based Learning) curriculum was taught in design planning classes. The final 11 design items were derived after developing an eco-friendly product design for upcycled textiles. These final items were as follows: 5 fashion bags, 3 dog products, 1 clothing, 1 fashion accessory, and 1 sanitary mask design. In order to develop only one aesthetic design idea for upcycling, we considered the following features: user-centered convenience, functionality, and practicality. Then, tie-dye, drawing, patchwork, and embroidery were used to create innovative design items. The product design of recycled materials is based on high functionality, waterproofing, and the use of organic natural materials. The results of this study indicate that the creative product design of upcycling has contributed to a sustainable and eco-friendly environment. Related research studies must be conducted for innovating the continuous design process of the future.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.25 no.4
• /
• pp.13-28
• /
• 2023

The purpose of this study is to analyze the characteristics of hippie style in emerging brands pursuing the hippie spirit, examine the changes in hippie style, and apply them to the design development process to propose a hippie style design that reflects contemporary characteristics. The research method of this study was used to grasp the characteristics and current status of hippie style based on a literature review and prior research. Through the analysis of Bode and Story mfg, a new brand that reflects the hippie spirit, the design expression methods and characteristics of modern hippie style were derived, and based on the analysis, the design of the 3D CLO virtual outfit was developed. The results of the study are as follows. First, in addition to the use of eco-friendly materials, the digital technology of the CLO 3D program was applied to the design development process, which made it possible to increase sustainability from the production process. Second, by creating a retro design centered on a striped pattern expressing freedom, revolution, and equality, and a handcrafted design based on a tie-dye pattern, the design was able to express the hippie spirit of loving nature, and through this, a new direction of eco-friendly and modern fashion design was presented.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.21 no.7
• /
• pp.1236-1246
• /
• 1997

본 연구는 1960년대 미국의 청년층에 의해 일어난 반문화적인 현상으로 인식되어온 동양문화의 도입, 특히, 인도문화가 청년문화 전반에 끼친 영향과 더 나아가 이러한 환경변화가 미국대학복식에 미친 영향을 알아보고자 하였다. 1960년대 미국청년문화에 나타난 인도 문화의 영향은 철학, 종교 대중음악 등 다방면에서 보여졌으며, 또한 복식의 형태에도 반영되었다. 복식학자들에 의한 단편적인 추론에만 그쳤던 이러한 복식의 현상을 본 연구는 문헌조사에 의한 객관적이고 과학적인 연구방법을 이용하여 입증하고자 시도하였다. Washington, D.C.와 San Francisco/Berkeley 지역에 위치한 7개의 대학교에서 1960년 부터 1975년 사이에 발행한 대학신문에서 연구자료를 수집하여, 체계적인 자료수집 및 분석을 위한 연구방법으로 사회과학분야에서 주로 사용되어 온 Content Analysis Method를 이용하였다. Content Analysis Method는 예비연구(preliminary study)의 결과를 기초로 인도 복식의 영향을 받은 미국대학복식의 형태를 크게 의복(clothes), 장신구(accessories), 직물(fabrics) 등의 3개 category로 분류하여, 다시 13개의 subcategory(kurta, midriff top, Nehru jacket/suit, Indian shirt/blouse/smock/dress, sari, Indian jewelry, Indian sandal, Indian urn, Indian bedspread. Indian embroidery, Indian print, madras, tie-dye)로 세분하였다. 복식의 형태에 의한 분류외에도, 대학신문의 광고나 기사에 실린 내용을 인도복식이 미친 엮향의 정보를 알아보기 위하여 Attribution information을 3 category(originated, attributed, connotated)로 분류하여 조사하였다. 더불어, 같은 문헌에 나타난 인도에서 도입된 4개의 주된 종교(Transcendental Meditation, Hare Krishna, Yoga. Divine Light Mission)의 빈도도 조사하였다. 본 연구의 결과는 13개의 가인도복식스타일(Indian style)의 Frequency(빈도), Attribution, Duration(기간)의 내응을 포함하는 표로 요약되었다. 또한, 연도별로 Indian style이 나타난 빈도의 Duration(기간)의 내용을 포함하는 표로 요약되었다. 또한, 연도별로 Indian style이 나타난 빈도의 합계와 연도를 축으로 하는 막대그래프를 작성하고 이 그래프에 Attribution Category의 내용도 함께 볼 수 있도록 정리하였다. 대학복식에 나타난 인도의 영향은 여성복식과 남성복식에 있어서 서로 유사점과 차이점이 보이는데, 인도의 영향이 여성복식에 있어서 그 빈도가 더 높고, 종류가 더 다양함을 볼 수 있다. 여성복식에 있어서는 12가지의 다양한 인도복식스타일이 나타났으며, 그중 가장 많이 보이는 스타일은 Indian Shirt/Blouse/Smock/ Dress이며, 그 뒤를 이어 Madras, Indian lowery등을 볼 수 있다. 남성복식애 나타난 7가지의 스타일 중에는 Madras가 가장 빈도가 높으며 그외의 스타일들은 그 빈도가 매우 낮음을 볼 수 있다. 인도의 영향의 정도 (Attribution Categories) 있어서는 여성과 남성복식 모두에 있어서 인도에서 직접 수입된(originated) item이 각각 전체의 90%와 81%를 차지하여, 인도복식의 영향은 받았으나 미국내에서 제작된(attributed and connotated) item 보다 휠씬 더 많은 수를 보였다. 인도복식스타일이 가장 많이 보여지는 시기(Peak period)는 여성과 남성복식에 있어 모두 1968년에서 1971년 사이로 공통점을 보였다. 이러한 결과는 미국 청년 문화에 전반적으로 나타났던 반문화적 현상과 동일한 시기로서, 이는 사회 현상이 복식에도 반영되고 있음을 알 수 있다. 또한 같은 시기의 대학신문에 나타난 인도에서 도입된 4 개의 종교 역시 1960년대 후반 부터 그 빈도가 증가하여 1970년에 리고의 빈도가나타낭으로서 앞의 결과를 뒷받침해 주고 있다. 본 연구에서는 Washington,D.C.와 San Francisco/Berkeley 지역의 대학신문만을 연구자료로 사용하였으나 앞으로는 새로운 연구 자료의 발굴과 연구대상을 타 지역으로 확대시키므로서 미국내 전체의 청년복식에 대한 이해를 증가시킬 수 있을 것이다.